Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Guinea-Bissau and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Bobby Womack to the grime kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Offenders. All the underground hits.
All Magma tracks. I heard you have a vinyl of every The Sonics record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Kayak,
Banda Bassotti,
Model 500,
Lou Reed,
Spandau Ballet,
Basic Channel,
Röyhkä ja Rättö ja Lehtisalo,
Jeff Mills,
Infiniti,
the Soft Cell,
UT,
The Motions,
Selector Dub Narcotic,
New York Dolls,
JFA,
John Cale,
Pussy Galore,
Procol Harum,
The Smiths,
Gian Franco Pienzio,
Notorious Big And Bone Thugs,
Harry Pussy,
The Walker Brothers,
Orchestral Manoeuvres in the Dark,
Angels of Light & Akron/Family,
Ultra Naté,
Adolescents,
Glenn Branca,
Letta Mbulu,
Ash Ra Tempel,
Mark Hollis,
Dark Day,
Bobby Womack,
The Men They Couldn't Hang,
Loose Ends,
The Standells,
Reagan Youth,
Man Eating Sloth,
The Slits,
Jesper Dahlbäck,
Joe Finger,
Simply Red,
John Lydon,
Funkadelic,
Piero Umiliani,
Qualms,
D'Angelo,
The Real Kids,
These Immortal Souls,
Ice-T,
Jeff Lynne,
Mandrill,
Bronski Beat,
Brand Nubian,
Bobby Hutcherson,
the Germs,
Cabaret Voltaire,
The Red Krayola,
H. Thieme,
The Young Rascals,
Soul Sonic Force,
The Residents, The Residents, The Residents, The Residents.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.